The great classics

Let's not worry about being modern and to play wine 'talent scouts', we must not forget to talk about those who made the history of Italian oenology throughout the world. 

The term ‘classic’ can be applied in all fields, to people, books and works of art and music that have left a mark on an era and are still considered cultural points of reference today. The concept of ‘classicism’ itself means defying time and maintaining recognized and shared values through the ages. Examples include the works of Homer, Shakespeare and Dante, the compositions of Mozart and Brahms, the paintings of Michelangelo, Leonardo Da Vinci and even Picasso.

Cultural giants in any era. There are even classics in our little world of wine and food. These include the Grand Cru Classé of Bordeaux and Burgundy, certain Champagnes like Dom Perignòn or the great Moselle whites like those of Ergon Muller.

There are even some classic wines from the New World, Grange from Penfold’s in Australia or California’s Opus One. And, obviously, there are the classic Italian wines: the Barolo of Mascarello, Conterno and even some selections of Pio Cesare, Marchesi di Barolo and Casa Mirafiore. Then there are the great reds of Bruno Giacosa and the Amarone of Bertani, Masi and Quintarelli. Together with these are some of the wines from Antinori, Ricasoli, Frescobaldi, Biondi Santi, Lungarotti, Mastroberardino and Tasca d’Almerita.

The list could go on and on with wines that over the past 50 years have played a profound role in the modern history of Italian wine, setting the foundation for the global success of Italian wine. Now, while all these wines are considered full-fledged treasures in international wine literature and culture, in Italy when you refer to these producers you are for the least branded as being ‘old fashioned’, unable to comprehend that it is ‘now’ and you are stuck on past glories. However, if you have the patience to consult the leading international wine publications, from Wine Spectator to Robert Parker, the French wine guides Béttane and Dessauwe and the Revue des vins de France, or the English-language Decanter and the articles Jancis Robinson writes for Financial Times, you will notice that they all show a sacred respect for the great names in world winemaking without being accused of infamy by anyone, quite the contrary.

It is all fine and good, and even interesting and fun, for Italians to play wine ‘talent scout’, but this on the condition that they do not forget who they are and where they come from and, in many respects, still are. Italian classics are still the lead players on the domestic wine scene. They are the solid, professional foundation of a great structure that may take many directions but without which it would be impossible to build or consolidate.